Monday, September 30, 2013

Link zum 2013 Bundesvision Song Contest


Hat das Beste Lied gewonnen? 

Welches Lied hätte lieber gewonnen?

Scenes from NYC's Steuben Day Parade

Energetic dancing:  Guys wearing Dirndl


"Nothing runs on time or smoother than this parade...I know what you're dealing with today...and you always  manag... just in time and you see all the happy people and all the costumes..I am always surprised about the variety that we have..."

Letztes Jahr im Fernsehen:

Sunday, September 29, 2013

Ferris Buehler singt ,,Dankeschön"

 Wer kennt den Film nicht???  (Is there anyone out there, who doesn't know this film?)

Solange ich Ferris kenne, hat er alles im Griff.
Ever since I've known Ferris, he's had a handle on everything.

Du bist wahnsinnig!
(You're awesome!)

Die zwölf Weihnachtstagen: Julie Andrews singt nicht, aber....

Zu Weihnachten, schenke ich dir mit Liebe,  
  (To the nights of Christmas, gift I to you with love...) 

Die  Königssänger (Kings Singers-- mit John Denver, und Placido Domingo) mit Julie Andrews:

1.   Eine buntbemalte Kuckucksuhr
2.   einen Bierkrug
3.   ein Tirolerhut
4.   einen Kugelhupf
5.   ein Glockenspiel
6.   fünfzig Pfeffernüße
7.   drei Wienerschnitzel
8.   ein Spitzendirndl
9.   drei Zwetschgenknödel
10.  einen Apfelstrudel
11.  ein Federkissen
12.  zwanzig Krache Würste  ????

Saturday, September 28, 2013

Martin Waldseemüller name for Brazil, "America", sticks, and then some

The Birth of "America"

At the turn of the 16th century, Florentine-born seaman Amerigo Vespucci (1454-1512) made two voyages to the New World. In 1505 he published an account of his second voyage, in which he claimed to have discovered the New World in 1491, one year before Columbus.

Three years later, in 1507, well-known German geographer and cartographer Martin Waldseemüller (ca. 1470-1518) from Freiburg in Baden, used Vespucci's travel account of South America for his Cosmograhiae Introductio, and suggested naming the area that is present-day Brazil after its supposed discoverer. Translated from the Latin original, the text reads:
"Since these regions have now really been explored further and thus another continent has indeed been discovered by Amerigus Vesputius (as can be seen in the following letters), I see no reason why it should not in all justice be called Amerigen, the land of Amerigus, or America, after its discoverer Amerigus, a man of sharp intellect, since Europe and Asia both received their names after women."
Waldseemüller's suggestion was quickly taken up by other geographers.  Columbus had died in 1506, so he was unable to dispute the claim. Those close to Vespucci however, were familiar with his braggadocio; these claims were already being disputed before he published his account.

At first, the name America, applied only to the southern continent.  By the end of the century, it was understood to include the entire western hemisphere.

Wie Amerika zu seinem Namen kam

Auch Amerigo Vespucci, ein Freund des Kolumbus, befuhr mehrmals den Ozean. Er erkannte richtig, dass es sich bei den Entdeckungen des Kolumbus tatsächlich um einen unbekannten Kontinent handelte.

 Amerigo Vespucci war jedoch ein ziemlicher Aufschneider. Er gab sich in einem Brief sogar als Entdecker des neuen Kontinents aus. Schon damals, im Jahre 1504, wurde Amerigos angebliche Entdeckung angezweifelt. Er wurde sogar als Betruger hingestellt.

Von alldem wußte aber ein gewisser Martin Waldseemuller nichts. Dieser bekannte deutsche Kartenzeichner bekam ein gedrucktes Exemplar von Amerigos Brief in die Hände. Er zweifelte nicht an der Echtheit von Amerigos Behauptung. Daher fand er es nur recht und billig, den neuen Kontinent nach Amerigo Vespucci "Amerika" zu nennen.

So fertigte er eine neue Weltkarte an, von der fast 1000 Stuck gedruckt wurden. Das war im Jahre 1507, und auf dieser Karte findet sich erstmals der Name "Amerika". Auf diese Weise verbreitete sich der neue Name schnell in ganz Europa.

Taken from German Life Magazine: culture, history, tourism, imported goods, G-A culture

Germans in Hollywood

Peter Lorre in 'The Man Who Knew Too Much'
Alfred Hitchcock’s The Man Who Knew Too Much (1934) featured Peter Lorre in one of his first sound pictures. PHOTO: Gaumont British Picture Corp.

Fritz Lang star
The Austrian director Fritz Lang has a star on the Hollywood Walk of Fame.  
PHOTO: Hyde Flippo

From:  The German Way (Hyde Flippo)
The Three Waves of Hollywood Immigration
Wave One (The Pioneers): 1910-1931

From the earliest days of American motion picture production a more-or-less constant stream of Austrian, German, and German Swiss emigrés has crossed the Atlantic to influence the cinematography, acting, directing, set design, music and other aspects of American cinema.

Some, such as the German Carl Laemmle (1867-1939) who founded Universal Studios, and the Austrian Marcus Loew (1870-1927), co-founder of the MGM studios and the Loew’s theater chain, were present almost from the beginning and played a significant part in getting Hollywood’s infant industry off to its start.

Why start with 1910? That is the year Hollywood became a part of Los Angeles and marks the beginning of the American film industry’s move from the east coast to southern California.
The flow continued in the silent era boom of the 1920s. And it was not always in one direction. A few Americans, most notably actress Louise Brooks (1906-1985, Pandora’s Box), were successful in “the other Hollywood” in Berlin. But the German director Ernst Lubitsch, the German actor Conrad Veidt, the German-Swiss director William Wyler, and the Austro-Hungarian director Michael Curtiz were just four of the very successful film people who moved from Europe to Hollywood in the 1920s. Marlene Dietrich arrived in 1930 with her star director, Josef von Sternberg, with whom she would make a series of Hollywood films.

Wave Two (The Exiles): 1932-1945

From about 1932 on, the flow became a flood. Almost all of the emigrés of this period were forced into involuntary Hollywood exile by the horrible events created by the Third Reich. The Nazis drove some of the best film talent in Europe out of Austria and Germany to France, England, and with few exceptions, eventually to Hollywood. Some of the new arrivals thrived in the American film capital and went on to fame and success. This group includes such notables as the Austrians Hedy Lamarr, Fritz Lang, Billy Wilder, and Peter Lorre.

Many other exiles, particularly the writers and composers, had a bad case of culture shock and were neither terribly successful nor very happy in Tinseltown. With the increasing number of artistic refugees, many ended up either unemployed or under-employed. Even relatively successful directors such as Wilhelm (William) Thiele (1890-1975), who had enjoyed highly respected standing in Europe, were forced to settle for making second-rate, low-budget films in Hollywood. Thiele, one of Germany’s most successful directors in the 1930s, was reduced to directing Tarzan films and other B-film fare in Hollywood, even if he always made more out of them than might be expected under the circumstances. But he was far better off than other film exiles who were driving cabs in order to survive in Los Angeles.

Wave Three (The Contemporaries): 1946-Present

In recent years Hollywood has continued to act as a strong magnet, drawing the German directors Roland Emmerich (Godzilla, Independence Day, The Patriot) and Wolfgang Petersen (Air Force One, The Perfect Storm), cameramen such as Michael Ballhaus (Air Force One, The Departed) and Karl Walter Lindenlaub (Rob Roy), not to mention the Austrian Arnold Schwarzenegger (1947- ), or the German film music composers Hans Zimmer (Rain Man, The Lion King, Gladiator) and Berlin-born Christopher Franke (Universal Soldier, Tarzan and the Lost City).

A Fourth Category: Germanic Heritage

They didn’t immigrate, but another group in the German-Hollywood Connection is made up of American-born film people whose parents or grandparents came from Germany, Austria, or German Switzerland. This group includes some very famous people in Hollywood, including dancer Fred Astaire (Austerlitz, Austrian father), Lauren Bacall (Betty Perske, German-Jewish ancestry), Sandra Bullock (German mother), Doris Day (Doris Kappelhof, German ancestry), Leonardo DiCaprio (German mother), Kirsten Dunst (German father), and Renée Zellweger (Swiss-German father).

Others have influenced Hollywood through their work, even though they remained in Europe. German filmmaker Leni Riefenstahl is the most notable example. In one way or another, many Austrians, Germans and Swiss, past and present, have contributed in some significant way to what moviegoers all over the world see on the silver screen.

Friday, September 27, 2013

Der goldene Raab

Hier gewinnt Raab einen Sonderpreis vom TV 1 Live, 2010, mit einem lustigen TRIBUTE.

Er ist mit der  Maus gross geworden. (He grew up with the TV kids show Sendung mit der Maus -- that show with the mouse).
Ja, er singt auch das Lied.  (-- Yes, he sings that song, too.) 

Sein Herz ist in der richtigen Stelle.  (His heart is the the right place.)

Watch as Helga Schneider (the popular host) slips him 50 Euro... because the prize was draining on him???

Raab says that he's disguised as the Graf (another popular EUROVISION star with a great bass voice, who always dresses formally), whom (along with Lena) we see in the audience.

Alles was er anfasst geht durch die Decke ... (Everything he touches goes through the roof)
Er soll auch Fussballtrainer sein  Er soll auch nur Trainer fuer FC Koeln werden!?  (the commentators hope he'll lend his hand to the local soccer team, which was bounced out of the premier league last season, and now plays in the 2nd league.)

Immer Quatsch!   (His music is always connected to nonsense.)

Und wer ist Helga Schneider????   Er ist ein grosser, beruehmter Bloedmann! (He's a famous comedian/well-loved baffoon.) 
Das, und auch Musiker.  Hier spielt er Saxophone!

Hier:  etwas lang, aber man verbringt eine ganze Woche im Stockholm, 2000, als er mit dem EUROVISION Song Contest mitmachte.   (This is a chance to follow Raab for an entire week...was fuer Energie!  Uncut.)

Politische Debatte: Merkel und Steinbrueck

Und wer moderiert?  Kann es auch Stefan Raab sein?  (Could Stefan Raab also be the political moderator of this debate?)

---------------------"Das TV-Duell"--------------------

Themen:  Wahl-O-mat!  (the online program that helps you select the political party that best fits your beliefs)
               Pkw-Maut!   (tolls on the Autobahn)
               Steuer   (taxes)
               Sozialgerechte  (social rights)
               Kinderbetreuung   (child support)
               starke Wirtschaft; groesste Europas   (a strong economy; the largest in Europe)
               neue Ideen
               keine neue Belastung  (no new debts)
               die Staerkeren den Schwaecheren helfen  (the strongest help the weakest)
               Was noch?  (What else?)

Wer gewinnt?    Wie moechte Stefan waehlen? (How would Stefan like to vote?)

Böörti, Böörti Vogts: 1994 Stefan Raab

ZDF HitParade    Der Sieger = the winner

Er ist kaum aufzuhalten....Who can speak over Stefan Raab?  It's a tough job.

Wer kann den Songtext verstehen?

                Böörti, Böörti  Vogts   1994    v. Stefan Raab      - erreicht Platz 4

Ahhh, wer ist der schönste Trainer der Stadt? Böörti Vogts, Böörti Vogts!
Wer schleppt die geilsten Weiber ab?Böörti Vogts, Böörti Vogts!
Wer trägt Größe XXS? Böörti Vogts, Böörti Vogts!
und ist dafür, schon ganz schön kess? Böörti, Böörti Vogts!

Refrain: Böörti Böörti Vogts,  Böörti Vogts, Yeah!  Böörti Böörti Vogts,  Böörti Vogts, Yeah! (x2)

Ahhh, wer sieht hinten, aus wie vorn?   Böörti Vogts, Böörti Vogts!
Wer darf in der Nase bohrn? Böörti Vogts, Böörti Vogts!
Wer ißt gerne, Eis am Stiel? Böörti Vogts, Böörti Vogts!
und wer spielt gern, mit Playmobil? Böörti Vogts, Böörti Vogts!
Wer redet, was kein Mensch versteht?Böörti Vogts, Böörti Vogts!
Wer hat an der Uhr gedreht? Böörti Vogts, Böörti Vogts!
Wer spielt Fussball und kein Golf? Böörti Vogts, Böörti Vogts!
Wer hat Angst, vorm bösen Wolf? Böörti -Böörti Vogts!

Refrain:  Böörti Böörti Vogts,  Böörti Vogts, Yeah!  Böörti Böörti Vogts,  Böörti Vogts, Yeah! (x2)

Ahhh, wer trainiert die deutsche Elf?    Böörti Vogts, Böörti Vogts!
Wer sah mit 10, schon auf wie 12?     Böörti Vogts, Böörti Vogts!  
Wer ist nicht mehr, ganz bei Trost?     Böörti Vogts, Böörti Vogts!
und wer ist eigentlich, Böörti Vogts?     Böörti Vogts, Böörti Vogts!
Wer ist öfters, auch mal blau?     Böörti Vogts, Böörti Vogts!
und wie nennt ihn, seine eigene Frau?     Böörti Vogts, Böörti Vogts!
Wer bestimmt den Speiseplan?     Böörti Vogts, Böörti Vogts!
und wer lässt gern, mal einen fahren?     Böörti - Böörti Vogts!

Refrain: Böörti Böörti Vogts,  Böörti Vogts, Yeah!  Böörti Böörti Vogts,  Böörti Vogts, Yeah! (x2)

Ahhh, wer kennt Harry Bert Fass Bender?     Böörti Vogts, Böörti Vogts!
Wer hat ständig, einen St...Au!     Böörti Vogts, Böörti Vogts!
Wer hat immer, coole Sprüche?     Böörti Vogts, Böörti Vogts!
Wer steht zuhause, in der Küche?     Böörti Vogts, Böörti Vogts!
Wer sind gern, mit Village People?     Keiner! Keiner!
Franz ist groß und was ist Bertie?     Kleiner! Kleiner!
Wer muss schon, um 8 ins Bett?     Böörti Vogts, Böörti Vogts!
und wer ist eigentlich, doch ganz nett?     Böörti - Böörti Vogts!

Refrain:  Böörti-Böörti Vogts,  Böörti Vogts, Yeah!  Böörti-Böörti Vogts,  Böörti Vogts, Yeah! (x2)


Wofür ist Hans-Hubert „Berti“ Vogts aus Mönchen Gladbach berühmt?  

als Spieler        Weltmeister 1974      Europameister 1972        Vize-Europameister 1976              UEFA-Pokalsieger 1975, 1979
      Deutscher Meister 1970, 1971, 1975-77     Deutscher Pokalsieger 1973     Fußballer des Jahres in Deutschland 1971, 1979

als Trainer            Vize-Europameister 1992            Europameister 1996             DFB Team     Weltmeister 1990

als Int’l Trainer      2001-2 Kuwait;     2002-4 Schottland;    2007  Niger;   (--Albanien--)     2008  bis 2014:  Aserbaidschan
                               ---  Er  traf 6x in Länderspielen gegen Deutschland.  

Thursday, September 26, 2013

Duden -- mit Englisch

NY TIMES 25 Sept 2013  

How Do You Say ‘Blog’ in German?

WE Germans owe the English language a debt of gratitude. If English didn’t lend us one or two little words every once in a while, we would probably call blogs “digitale Netztagebücher” and apps “Anwendungen für mobile Endgeräte.” Even for German speakers, those don’t exactly roll off the tongue.
Such linguistic borrowing has been increasing, as technology both creates its own new words and facilitates the global spread of newfangled cultural terminology. Recently the editors of the Duden dictionary, the German equivalent of the Oxford English Dictionary, added 5,000 new words to its 26th edition, many of them English or of English origin, including “digital native” and “flashmob.”
The Duden has been around since 1880, and this isn’t the first time English words have been added. But the new edition has caused an uproar among linguistic conservatives. After the additions were announced, the German Language Society, an unofficial organization that has tasked itself with protecting the German language, voted the editors of the Duden the “language adulterers of the year,” accusing them of legitimizing the demise of German.
Most Germans are more liberal in their linguistic views and generally agree that the idea of protecting a country’s language is as megalomaniacal as it is futile.
It certainly doesn’t represent the view of the majority of my generation, the 20- and 30-somethings, who generally have a relaxed relationship with both languages. Our parents associated German music with Nazi propaganda and opted for Springsteen-only musical diets, but we embrace the renaissance of German pop and rap lyrics. At the same time, we see no harm in integrating English words into our language.
But the society’s stance has nevertheless touched a chord across German society, particularly among people you might call anti-cosmopolitans: those who feel unable to keep up with an internationalization they feel is being imposed on them.
That the reaction should come now, in a rapidly homogenizing Europe, is unsurprising. The feeling of speaking increasingly marginalized languages is vivid in many parts of Europe, even in countries with large populations of native speakers like France and Germany.
Of course, the motives for defending one’s language differ from country to country. In France, it is part of a quest to bolster the country’s self-perception as a still-functioning colonial power. It is government policy that radio stations must play a certain minimum amount of French music.
In Germany, the driving force comes from the opposite direction. Refusing to accept the internationalization of the German language is a way of rejecting internationalization as a phenomenon. It is a nativist attempt to stand up to globalization.
Walter Krämer, the president of the society, articulated this point of view when he lambasted the Duden for including Anglicisms commonly used by “braggers” — what in previous generations might have been called yuppies. There is some truth in that. The frequent use of English words has become a status symbol, not unlike a pair of pearl earrings or shopping at Whole Foods, a way of showing off your education. A way of saying that your world is bigger than that medium-size country in the middle of Europe that doesn’t even have the guts to support military action in Libya or Syria.
In Germany as in America, it is easy to make fun of such people. But as the German sociologist Ulrich Beck noted recently, cosmopolitanism is a reality, not a willfully chosen identity. There are those who will continue to embrace it and those who will see it as a threat, but it can’t be turned back, even if one insists, as the German Language Society does, on calling a laptop a “Klapprechner.”
As any English speaker fond of the term “schadenfreude” knows, German has its own share of wonderful, untranslatable words. One of those, “Zeitgenossen,” is particularly apt for the moment. If you look it up in a German-English dictionary, you will find that it means “contemporaries,” those who happen to live in the same day and age. But it means more than that. The German word “Genosse,” meaning “comrade” or “associate,” also implies a mutual responsibility.
Thus “Zeitgenossen” share a responsibility toward one another as well as toward the age they live in. It is an attitude that sees languages as complementary, not competitive, and sees the world as a continuum of cultures, rather than a set of distinct borders. It is an attitude I wish more of my fellow Germans would adopt.
Again, English, thanks for “digital natives.” In return, you can have “Zeitgenossen.” It’s yours. Take it. It is a wonderful linguistic paradox that one of the nations that currently struggle with the idea of cosmopolitanism should be able to express it best.

Anna Sauerbrey is an editor for the opinion page of the daily German newspaper Der Tagesspiegel

Monday, September 23, 2013

Online Wissenschaft (Scientific) Magazin für Kinder


Lerne die Antworten!
1.  Wie bastelt man eine Rakete mit einem Gummiband?
2.  Wachsen Bambus 1 Meter pro Tag?
3.  Wie funktioniert eine Lava-Lampe?


Sunday, September 22, 2013

Merkel triumphiert, FDP raus, Hoffnung für AfD schwindet

Frau Merkel mit ihrem Mann, Professor Doktor Joachim Sauer 

(Schau auch Frau Merkels Halskette mal an!)
DIE WAHL, 2013
       Hier sind die Erwartungen (Expectations):            

Und die Ergebnisse (Results)?

Die Brings singen Stolz ne Kölsche zo sin

Versteht ihr Kölsch?

Ja, es geht sicher um Fußball: 
      FC = Fußball-Club 
      Kölle = Köln  (= Cologne)

TV Total - Stefan Raab will sich sein Typ verändern

Wo spielt der Film?
Was lernen wir über den Raab?

Hier ein Bonus aus 2009 ...  Tokio Hotel?  Durch den Monsun.


Im Kindergarten ist es toll...

Berlin Artist Phil Collin's YOU ARE WHAT YOU BUY • Art Installation

This Unfortunate Thing Between Us-- in NYC
Newsweek      24 Sept. 2013      by

The only problem with the latest installation by the great Berlin-based artist Phil Collins is that it doesn’t come with an amazing Ginsu knife; it hasn’t got any “buy two get one free” deals; you don’t get a bonus zirconium ring, even if you call before 9 o’clock. Other than that, Collins’s take on home-shopping TV, recently unveiled at the Tanya Bonakdar Gallery in New York, is as gripping and strange as anything on offer in this autumn’s new season of art.

This Unfortunate Thing Between Us, consists of two camping trailers—what Collins and his fellow Brits call caravans—rolled into the gallery and kitted out with all the pleasures of an English vacation. They come with a supply of “crisps,” lime cordial, and, most especially, a flat-screen TV to while away rainy days by the British seaside.

Gallery-goers are invited to curl up and watch the custom programming Collins has prepared.

One of the caravans screens the first night’s hour-long program; the other presents the next day’s broadcast, during which three regular Germans take their place in one of the three experiences.

Over two nights in 2011, on primetime in Germany, Collins broadcast TUTBU TV, a custom-made shopping channel that had all the trappings of a normal one—fast-talking host, slim spokesmodel, a bank of telephone operators—except that what it sold was utterly original. As our sleek host puts it in the subtitled video of the broadcast screening in the caravans, “With the endless electric blankets, gardening tools, upholstery cleaners, and fake jewelry, one need of customers has sunk into the background: the need for experiences.

That is, instead of selling consumer goods, TUTBU TV offered viewers a chance to participate in one of three experiences that the host claims to be Germans’ favorite fantasies:
“Interrogation! Porno! Death!” 
For the “low, low price of just 9.99 euros” you can buy the chance to be grilled by actors
  • dressed as Stasi agents (“Reach for your phone now!”), 
  • to perform in a costume-drama porn flick, or 
  • to wake from a coma and berate the neglectful relatives standing by your deathbed.

Collins’s take on home-shopping TV is gripping and strange.

One of the caravans at Bonakdar screens the first night’s hourlong program, during which the three experiences are “sold” to the television audience. Actors do trial runs of the interrogation, the porn (a foursome), and the hospital scene, while a bank of operators takes customers’ calls.

Collins’s other caravan presents the next day’s broadcast, during which three regular Germans, chosen by Collins from among the hundreds who’ve called in, take their place in the same three fantasies.
  • Gerd Radeke, a middle-aged man from Bremen, gets a grilling from the Stasi about his first love affairs and almost breaks down. 
  • A bearded youth from Berlin (“I’ve always wanted to know how people had sex in earlier times”) chooses to play the part of a bewigged Jane Austen maid who pleasures her mistress while a strapping stable boy and a redcoat have sex nearby. 
  • An elderly Berliner named Klaus Funke tells his assembled family—most are actors, but a few are clearly relatives, weeping real tears—what jerks they have been. 
Klaus Funke berates his assembled family—most are actors, but a few are clearly relatives, weeping real tears—from his deathbed.

One of the standard lines about art is that it’s less about the objects artists make than the experiences those objects provide and what they mean to their viewers. Collins seems to have taken that cliché at face value. His latest artwork seems like pure experience, divorced from consumable aesthetic goods. It’s also guaranteed to mean something to its viewers—in this case, those who’ve bought said experiences and the wider audience witnessing them.

But offering up experiences rather than objects doesn’t pull art out of the world of consumption, and I think that’s part of Collins’s point. As our smarmy host peddles his goods, we have to figure that he’s supposed to stand for an artist—even for Collins himself. And there’s no doubt we’re in the presence of art, rather than of straight commerce or entertainment, because Collins inserts so much artsy weirdness into the broadcast: fright wigs, goth makeup, other avant-garde details worthy of Mike Myers’s “Sprockets” routines. “Let’s find out together what teleshopping can do,” is TUTBU’s tagline, as though it’s exploring a new art medium, the way abstract painters were once told to explore the limits of acrylics.

So even as we art-world sophisticates enjoy the wit and circularity involved in Collins’s gallery installation, we are forced to recognize that we are no better than, or much different from, a couch potato in a cheap trailer, teleshopping for a garden hose.

Saturday, September 21, 2013

Alex & Jim Germany VS USA

 Cultural Differences -- Nashville photos

Diese 2 Jungen haben zusammen 2-3 Jahren schon gebloggt.  Habt ihr jetzt Interesse auf Telil 2? 

Emmy (from RI) Eats --- Snacks from Germany

 Which snacks might be on your wish list?

1.  Brause Brocken (fizzy)
2.  Knabber Krusten (mit Schweingeschmack)
3.  Ritter Sport Schokoriegel
4.  Funny frisch Kessel süße Chili Chips
5.  Knabber Esspapier
6.  Vita Malz
7.  Bayerische Blockmalz
8.  Funny frisch Maxi Mix
9.  Erfrischende Kaubonbons von der Firma Böhme (Obst-Geschmack)
10. Nappo (v. Salztablick)
11. Früchtiger Knusper Puffreis (sauer)
12. Pasta-Frutta (v. HARIBO)
13. BiFi muss mit (geräuchert-smoked)
15. Katje's Schoko-Tappsy
16. Trinkhalme (v. Sipahh malted beads in a straw)
17.  Pocket Fruchtmus

Später = later
  • Bread mix
  • Hot Wasabi Heiße Tasse
  • Rote Beete Streichcreme
  • Rot Weiß Soße (v. Tomy; tube of ketchup / mayo)

Emmy eats German Christmas treats:

1.  Lindt Sankt Nikolaus
2.  Kinder Hippo
3.  Kinder Knuspereier
4.  Zimtsterne  (v. Bahlsen)
5.  Koala Kakao (v. Kuchenmeister)
6.  Cocosella Lebkuchen (mit Kokosnuß)
7.  Nideregger Lübecker Kartoffeln (Marzipan)
8.  Mozart Kugeln
9.  Stollen
10. Ferraro Rond Noir
11. Mini Ulmi Lebkuchen

Mehr Faun: Diese Nacht ist zu kalt

Hier ist der Songtext: 

Diese Nacht ist kalt und der Wind, der bläst
durch unser Land und wer jetzt noch geht
ist ein armer Tor oder auf dem Weg
zu der Liebsten, die jede Reise lohnt.

(Refrain:)  Ohhh
        öffne mir, lass mich hinein
        dein Liebster steht im Mondenschein
        diese Nacht ist so kalt
        so öffne mir
        denn morgen wird's zu spät sein

Mein Vater wacht über Haus und Hof,
meine Tür versperrt ein Eisenschloss
und ich habe keinen Schlüssel dafür
es führt heut' Nacht kein Weg zu mir

(Refrain:)  Ohhh

Doch die Nacht ist so kalt, endlich öffnet sie ihm
und sie küsst ihres Liebsten kalte Stirn
Diese Nacht ist so kalt doch sie öffnet die Tür
und er küsst sie sieben Mal dafür

(Refrain:)  Ohhh

Der Morgen graut und der Wind, der geht
durch unser Land doch das Mädchen liegt
in ihres Liebsten Arm und danket sehr
der kalte Nacht und dem Wind dafür.

Faun & Santiano: Tanz mit mir

Hier aus der Mittelalterlichenzeit?

Tanz Mit Mir Songtext

Ach komm du Schöne bring den Wein zu mir,
bring den Wein zu mir!  Ich verdurste hier.
Ach komm du Schöne bring den Wein zu mir,
denn mir ist nach Wein und Weib

      Ich schenk dir ein nur wenn du tanzt mit mir,
        wenn du tanzt mit mir dann komm ich zu dir
         ich schenk dir ein nur wenn du tanzt mit mir,
            dann bekommst du Wein und Weib.

Oh, komm du Schöne auf den Tisch hinauf, auf den Tisch hinauf, komm wir tanzen drauf
Oh komm du Schöne auf den Tisch hinauf, denn es soll uns jeder sehn

Ich komm hinauf für einen Kuss von dir, einen Kuss von ja den wünsch ich mir
Ich komm hinauf für einen Kuss von dir will ich oben bei dir stehn

Die Sünde lockt und das Fleisch ist schwach so wird es immer sein
Die Nacht ist jung und der Teufel lacht komm wir schenken uns jetzt ein

Und später Schöne teil das Bett mit mir, teil das Bett mit mir, das ich nicht so frier.
Und später Schöne teil das Bett mit mir, es soll nicht dein Schaden sein.

Doch nur wenn du heut keine andre küsst, keine andre küsst, wenn du treu mir bist.
Doch nur wenn du heut keine andre küsst, sonst schläfst du wohl allein.

Die Sünde lockt und das Fleisch ist schwach so wird es immer sein
Die Nacht ist jung und der Teufel lacht komm wir schenken uns jetzt ein

CHOR:  x 4

Friday, September 20, 2013

Cassidy Clayton - Astronaut

(Danke, Andreas.  )


Ich habe alles was ich brauche,
und noch viel mehr,
denn ich bin Astronaut.
Die Welt wird langsam klein.
Ich steige immer höher...
Irgendwie ist es ganz allein hier.
Die Erde ist ein Karussell...

So lange du am schnellsten bist

Diese Einsamkeit erdrückt mich...

Tuesday, September 17, 2013

G-I Game Show: Ticket nach Berlin

Das Goethe-Institut will, dass wir Deutsch lernen.  Es soll uns auch Spass machen.


Wer spielt am TEAM NORD mit?
Wer spielt am TEAM SUED mit?

Tiere in der Politik

-- vom Kindernetz

Und dazu, hier den Text:

Darf ich vorstellen? Sunny und Bo, zwei der bekanntesten Hunde der Welt. Und zwar weil sie zu ihm gehören: Barack Obama, Präsident der USA. Im Weißen Haus, dem Wohn- und Arbeitssitz der US-Präsidenten, gibt es eigentlich immer Hunde.

Aber nicht nur die US-Politiker lieben Hunde: Auch der ehemalige deutsche Bundeskanzler Gerhard Schröder hatte einige süße Vierbeiner. Bei knuffigen, kleinen Welpen wird sogar der russische Präsident Wladimir Putin ganz verkuschelt. Sein eigener Hund sieht allerdings gefährlicher aus. Da guckt auch die deutsche Bundeskanzlerin Angela Merkel skeptisch. 

Dabei kann Merkel auch gut mit Tieren – die fliegen praktisch auf sie!

Das ist der Oberste Mäusejäger des britischen Kabinetts in London! So heißt der Kater, weil er in diesem Haus lebt – der Downing Street Nummer 10. Dort wohnt der britische Premierminister, im Moment ist das David Cameron. So wie es in den USA im Weißen Haus immer einen Hund gibt, gibt es in Großbritannien immer eine Katze oder einen Kater.

Andere Politiker haben zwar kein eigenes Haustier, lassen sich aber gerne mit Tieren filmen oder fotografieren. Der ehemalige US-Präsident George W. Bush, hier mit einem Truthahn. Der deutsche SPD-Politiker Sigmar Gabriel hat dagegen ein Eisbär-Baby fürs Foto genommen. 

Auch Kühe sind beliebt. Hier besucht der FDP-Politiker Guido Westerwelle eine, und hier der aktuelle französische Präsident Francoise Hollande. Der frühere Präsident von Frankreich, Nicolas Sarkzoy, spielt lieber Cowboy und reitet durch die Felder.

Und der Mutigste von allen ist vielleicht der ehemalige deutsche Bundeskanzler Helmut Kohl – er hatte mal einen echten Adler auf dem Arm!

Pronunciation: Aussprache

HIER IST EINE AUSSPRACHE UEBUNG  -- from the University of Texas

Hilft es?  (Does it help?)

2013 Bundesvision Song Contest am 26. September


Von wem?  Von Stefan Raab, natuerlich.

Und welche Musiker spielen mit?   Es gibt einen Musiker aus jedem Bundesland.


Ich glaube, es wird ein Deutsches Lied dieses Jahr im Contest geben!

Kennst du ein paar von den Musikern?  (In diesem Blog gibt es schon Lieder von Johannes Oerding -aus Hamburg - und Pohlmann - aus NRW -  aber die anderen Musiker aus allen 14 anderen Bundeslaendern sind auch mir neu.)

Wer soll gewinnen?  (Ich will wissen:  Darf Xavier Naidoo auch gewinnen?  Er spielt auch dabei.)

Politik und die Wahl

vom Kinder Radio Kanal   Willst du zuhoeren?  DANN HIER CLICKEN!   

Seehofer siegt (wins) in Bayern

Am Wochenende wurde in Bayern gewählt.

Norman Langen singt Einer von Millionen

Habt ihr dieses Lied gern?  Oder nicht?  

Songtext   Einer von Millionen

Das Leben macht uns klein,
Groß macht nur die Liebe.
Jeder ist ein Mensch,
Der sucht, gewinnt, verliert.
Ich war der Typ im Lichtermeer der Stadt,
Der nur den Traum vom Fliegen in sich hat.
Ich bin nur Einer von Millionen,
Ein König sicher nicht.
Ich bin nur Einer von Millionen,
Und trotzdem liebst du mich.
Wahnsinn, aber wahr, ausgerechnet mich,
Den einen Typ, inmitten von Millionen.
Die Zeiten, die sind hart, wir alle müssen kämpfen.
Hier von unserem Stern sehen wir das Meer.
Halt mich fest, sonst geh ich noch verloren.
Und irgendwie hast du mich neu geboren.
Ich bin nur Einer von Millionen,
Ein König sicher nicht.
Ich bin nur Einer von Millionen,
Und trotzdem liebst du mich.
Wahnsinn, aber wahr, ausgerechnet mich,
Den einen Typ, inmitten von Millionen.
Wir sind Kinder einer Zeit, die nach Liebe schreit —
Ich bin bereit!

Monday, September 16, 2013

ECONOMIST: Safe Hands of Angela Merkel

Angela Merkel   A Pair of Safe Hands

Perceptions of Germany’s chancellor, who is likely to win re-election on September 22nd, are completely different at home and abroad


SUPERSIZED and without commentary, a pair of hands went up the other day on the side of a building just outside Berlin’s main train station, with Germany’s parliament and government buildings in clear view. The idiosyncratic bracing of thumb and fingers made the digits on the poster instantly recognisable as belonging to Angela Merkel, who is up for re-election as chancellor on September 22nd. The “Merkel rhombus” has become something of a symbol.

 This billboard in Berlin features only 3 letters along with those iconic hands, clearly supporting Merkel's CDU Party. 

Asked about it, she replies, in a disarming and characteristic deadpan, that she adopted the position to solve a practical problem, as any trained scientist would (she earned her PhD with a dissertation on quantum chemistry). The problem was what to do with those hands. The solution was to neutralise them against each other, which happens to be pleasingly symmetrical and also pushes the shoulders up, improving posture.

The explanation is pure Merkel—unpretentious, pragmatic, artfully plain. With a similarly choreographed candour she has let it be known that she likes to cook potato soup for her husband (a scientist who otherwise stays out of public view). She does her own shopping, occasionally getting lost in the supermarket aisles. Mrs Merkel “fits the cliché that we Germans have of ourselves: frugal, sombre, awkward and a bit unpolished in a likeable way,” says Ralph Bollmann, author of one of a ream of biographies published this year. That common touch, he thinks, is why the Germans identify so much with their chancellor that in the past few years they have started to call her Mutti—“Mum”.
The rhombus makes for a striking poster. As telling, though, is what the huge poster lacks. There is only one tiny bit of text: the initials CDU, tucked in the corner. They stand for the Christian Democratic Union, the centre-right party that Mrs Merkel leads, a big tent of churchgoers, conservatives and free-market liberals. Parties and platforms, not personalities, are supposed to play the lead role in German parliamentary elections. But this time, for the CDU, Mrs Merkel’s person is the platform.

What is that platform’s content? Outside Germany, Mrs Merkel is identified above all with a particular stance in the euro crisis, one which says it can only be solved with “austerity” (meaning brutal budget cuts) on the part of formerly profligate governments and wider economic reforms to make the entire euro zone competitive again. This explains the cheeky banners Irish football fans held up during last year’s European championship: “Angela Merkel thinks we’re at work”. It also accounts for the odious posters of Mrs Merkel defaced with a Hitler moustache brandished by demonstrators in Greece.

Ganz, Schön, Lustig
Germans see things differently. Mrs Merkel has achieved close to nothing of what she promised in previous election manifestos. There has been no overall tax simplification, for example, only a few giveaways to special interests. She has undertaken no big reform—the last one, liberalising Germany’s labour market, occurred a decade ago under her predecessor, Gerhard Schröder. Where she has made bold domestic changes, above all in deciding to give up nuclear power after the 2011 disaster at Fukushima in Japan, she has been adopting policies already favoured by the opposition parties. To Germans, therefore, Mrs Merkel is the opposite of ideological. She is a caregiver, like a Mutti, not a taskmaster, like her Irish or Greek caricatures.

By temperament, Mrs Merkel tries to slow political processes down. She also tries to break down problems into discrete units, observing and testing each solution separately before moving on to the next, as a good scientist would. That is what she has done in successive Brussels summits dealing with the euro crisis. Where the world saw a dogmatic Prussian forcing others to be disciplined, the Germans saw a chancellor giving ground to demands from crisis countries and France (on bail-outs, rescue funds and banking union), but cautiously and in the smallest possible increments. As taxpayers, Germans felt she was protecting them even as they understood that more concessions might follow. Mr Bollmann sees this ability to accustom the Germans gradually to new realities, and to know when they are ready to accept more, as Mrs Merkel’s particular genius.

Her “politics of small steps” is communicated in a way her countrymen appreciate and foreigners find baffling. Mrs Merkel speaks with soothing tones and simple, reassuring phrases which often have little content—a “sanitised Lego language, snapping together prefabricated phrases made of hollow plastic,” as Timothy Garton Ash at Oxford University describes it. In part, Mr Garton Ash allows, this is just the modern German fashion. “Because of Hitler, the palette of contemporary German political rhetoric is deliberately narrow, cautious, and boring.” But Mrs Merkel has taken it to new extremes of moderation.

Peer Steinbrück, who as leader of the Social Democrats (SPD) is her main rival in the elections, parodies her well. When he says, “A good foundation is the best precondition for a solid basis in Europe, ladies and gentlemen,” it usually brings the house down because it really does sound like Mrs Merkel. In so doing it allows Mr Steinbrück to position himself, in contrast, as one who dishes out “straight talk”—Klartext. To Mr Steinbrück’s frustration, however, his straight talk often leads to gaffes. When he says that he would not pay less than €5 ($6.63) for a bottle of Pinot Grigio the German public spends a few days affecting outrage that a Social Democrat with blue-collar interests at heart would say such a thing. But when Mrs Merkel does her Mutti-talk, she gets away with it.

Once and future chancellors
A more personal lunge at Mrs Merkel over the euro crisis missed the mark. Trying to make her incrementalism into a shortcoming, Mr Steinbrück suggested that Mrs Merkel lacked “feeling” for the European project because she spent the first 36 years of her life in East Germany, outside the European Communities from which the EU grew. It is true that she has a different (though not necessarily lesser) emotional connection to the EU than that felt, say, by Helmut Kohl, the pro-French CDU chancellor who oversaw German reunification and the conception of the euro and who brought Mrs Merkel into national politics. But as Mr Steinbrück discovered, a lot of people were offended that he could suspect Mrs Merkel of insufficient euro-passion merely because she grew up an Ossi (easterner).

 ECONOMIST Graphic listing Germany's main political parties and their shifts since 2005.

A good bit of what passes for campaign fisticuffs between these two politicians is in fact kabuki. They know and respect each other. In Mrs Merkel’s first term, from 2005 to 2009, she led a “grand coalition” between the CDU and the SPD (see chart 1) with Mr Steinbrück as her finance minister. They worked well together. When the financial crisis struck in 2008, the two gave a joint press conference to assure German savers that their bank deposits were safe. That image endures as the moment when the German public calmed down.

Both are also known for a wry sense of humour. In Mr Steinbrück’s case, it is broadly ironic (he blames his Danish grandmother for teaching it to him). Mrs Merkel’s humour tends nowadays to be low-key and reserved for private occasions, or at least situations removed from the public glare. The block of flats in which she lives has fewer tenants than it did, for security reasons; so her doorbell, marked discreetly with her husband’s name, Sauer, sits in a row with others marked Ganz, Schön, Lustig, Schön, Ganz (roughly translated: really quite funny, quite really). She is also a woman of culture and emotion. The risk of controversy does not stop her attending the Wagner festival in Bayreuth every summer; while she will sit through and enjoy the Ring Cycle, her particular favourite is said to be “Tristan and Isolde”, with its morbid and tragic beauty.

A good foundation
One of the problems for the SPD and the other large opposition party, the Greens, in running against Mrs Merkel is that, in an admirable display of responsibility, they both voted with her at every step in the euro-rescue. Yes, the Greens, in particular, would have liked to go faster and would have been open to Eurobonds (issued separately by each euro-zone government but guaranteed by all), which Mrs Merkel has ruled out. Bolder action at the beginning might have nipped the crisis in the bud, says Jürgen Trittin, a leading Green; instead Mrs Merkel “always delays, then eventually does what we said”. But to most Germans, this just sounds like nitpicking.

Predict the German election result with our interactive coalition tracker
More annoyingly for Mr Trittin, voters now have the same blurred view of the parties’ differences in energy policy. For most of the 30 years since the Greens entered parliament, their signature demand was for Germany to say Nein, Danke to nuclear power. Having previously backed nuclear power, in the days after Fukushima, Mrs Merkel made the most abrupt volte-face of her career. She decided to start turning the plants off and to exit nuclear power altogether by 2022.

For the Greens, this should have been a huge victory. Instead, it allowed Mrs Merkel to neutralise the entire subject. The En ergiewende (“energy turn”), which also encompasses a large and generously subsidised push into renewable energy, means putting up prices when in competitors such as America energy is getting cheaper; this looks worrying to some businesspeople. But there is a consensus behind it among all the main parties. Mr Trittin is reduced to bickering about operational details (power lines and so forth) rather than attacking Mrs Merkel head-on.

This is part of a pattern that has been called Merkelvellianism. By small, sly moves, Mrs Merkel has inched the CDU leftward, poaching one policy after another from her centre-left rivals. For decades the CDU favoured military conscription. Then Mrs Merkel abolished the draft, as the left wanted. When the SPD and Greens promised a minimum wage, Mrs Merkel quickly put forth a similar idea (albeit with flexible wage floors across regions and industries). When old-age poverty became the issue earlier this year, she promised to provide higher pensions for older mothers. When the left called for rent controls this summer, she supported them, too. On only one weighty subject does she squarely oppose the left. They want to raise taxes; she does not.

Mr Steinbrück reaches for every available metaphor to paint Mrs Merkel as a plagiarist lacking any conviction. Living in a country run by her is like driving endlessly round a roundabout—few fender benders but also no direction; her finger doesn’t point the way but only measures which way the wind is blowing: and so forth. Mrs Merkel drives some people in her own centre-right camp just as batty. A book by a veteran CDU adviser calls her Germany’s “godmother”—in the mafia, not the maternal, sense—a person with no values who betrays the ones held by the CDU whenever it suits her. Peter Kohl, the estranged son of the former chancellor, has said that he will abstain from voting because Germany now has, in effect, three social-democratic parties: the SPD, the Greens and Mrs Merkel’s CDU. Outside Germany, she is seen as unbending. (“Austerit ät, that new word: it sounds so evil,” Mrs Merkel jokes in her aw-shucks way.) Inside Germany, she looks as stiff as a plateful of spaghetti.

The best precondition
There is strategic method in her flexibility. By creeping into the political terrain of the opposition parties, Mrs Merkel hopes to reduce their supporters’ readiness to go to the polls. In doing so she knows that she will induce some CDU supporters to stay at home, too. But as long as she dampens turnout more for the parties of the left than for her own, she wins. Her political consultants call it “asymmetric demobilisation”.

It is not an elegant or very principled strategy, but it seems a workable one. The CDU is the strongest party, with about 40% in most polls. Though it will not secure an absolute majority, most coalition scenarios play out well for Mrs Merkel. One possibility is a continued partnership between the CDU, its Bavarian sister party (the CSU) and the liberal Free Democrats (FDP), her current coalition partner. Another possibility, which would provide a bigger majority but trickier internal politics, is a grand coalition between the CDU and the SPD like the one that Mrs Merkel ran in her first term. Mr Steinbrück has said that he would not serve in such a government again, but that is not in itself a deal breaker.

A third option is a pact with the Greens. This is less likely because the Greens are at the moment further to the left than the SPD on such issues as tax hikes. But there are moderate greens, especially in south-western Germany. And the party, which shares power in six states, and has shared it with the CDU at state level in the past, is hungry for a return to federal government.

By contrast, an SPD-Green coalition, the only one that Mr Steinbrück has said he would accept, has almost no chance of winning a majority. The only remaining risk to Mrs Merkel is thus an alliance between all the parties of the left, including the party called the Left. But the Left is a pariah in mainstream politics because of its roots in East Germany’s communist party and its goal of leaving or dissolving NATO. Mr Steinbrück wants no part in such a “red-red-green” pact, though others in his party could enter one without him.

Mrs Merkel thus has a good chance of staying in power. A victory would not be an endorsement of her domestic record, since that record is muddled. Instead, it would show that Germans forgive her for not having clear visions at home because she has governed during such unusual times. The global financial crisis began in her first term and spilled over into the euro crisis in her second. Disaster management took precedence over domestic reform.

And Germany has without question managed the crisis well (see chart 2). Tax revenues are gushing; the federal government could start repaying its debt in 2015. Youth unemployment is the lowest in Europe. Part of this is down to luck. Germany happens to be good at making the industrial goods that strong economies like China have been demanding. Part of it is down to Mr Schröder’s reforms, which made Germany’s labour market more flexible. But what Germans see is that, while many of its EU partners are struggling, Germany under Mrs Merkel looks strong.

If Mrs Merkel has a vision, it is that the euro zone and the entire EU should become strong, too. “I experienced the collapse of the German Democratic Republic, I don’t want to see the EU falling behind,” she has said. Her advisers believe that the trauma of 1989 informs her view of the euro zone today. Mrs Merkel often adds a statistic: that Europe has 7% of the world’s population, 25% of its output and 50% of its welfare spending. This is her way of warning that the status quo may not be affordable for much longer.

A solid basis in Europe
Europe “has no legal right to be leading in world history,” she says. “So we have to be careful that solidarity also leads to results, lest we all get weak together.” This message is aimed in part at France, Germany’s longtime partner, which is not reforming as fast as Mrs Merkel would like. In part, she is addressing Spain, Portugal and Greece, to encourage them to keep reforming. And in part she is talking, softly but sternly, to the Germans, lest they forget that as recently as the 1990s, Germany was called “the sick man of Europe”.

Keeping the European family healthy takes never-ending hard work and forbearance, says the Protestant pastor’s daughter and Mutti of her nation. For an otherwise protean woman, such sentiments probably do come from conviction.